中国新诗，百年辉煌

管季超0712

中国新诗，百年辉煌

                                    ——序汉英读本《中国新诗300首》（1917—2012）

                                  野鬼

中国新诗自1917年发轫，迄今已有百年的历史。在这一百年之中，整个中华民族历经了五四运动、军阀混战、抗日战争、国共内战、“反右”、“四清”、“文革”、四五运动、黑色1989、改革开放等重大而急剧的历史变革。可以说，无论是从历史的、文化的角度，抑或是从政治的、艺术的角度而言，这都是充满荆棘、困厄、战乱、抗争、饥荒、屠杀、呐喊、苦难的百年。

在如此黯淡而血腥的历史语境下，中国新诗从草创、实验到建设，可谓艰苦卓绝、百折不回。在这一百年中，涌现出了诸多优秀的、重要的，乃至杰出的、伟大的诗人和不朽的诗篇，并崛起于世界诗歌之林。毫无疑问，全面展示中国新诗的历史进程和艺术风貌，对外译介百年新诗经典作品的时刻到了。基于此，在2010年岁末，经过多次磋商，我与来自天津、北京、重庆、陕西、浙江、湖南、安徽、福建等地的八所高校的知名诗歌批评家、翻译家、学者，达成广泛的共识，即：编译一部既与中国新诗百年的辉煌艺术成就相对称，又无愧于伟大的汉语诗歌传统的选本，以此实现我们既定的编选目标——“一部汉英读本《中国新诗300首》（1917—2012）在手，读者可纵览中国新诗近百年发展历程的大致轮廓和中国新诗创作最高水准的代表性作品。同时，汉英读本《中国新诗300首》（1917—2012）还将为中外致力于中国新文学研究与传播的同道，提供新的视点和切入点，并为中国诗歌未来的发展、建设提供可资借鉴的文本参照；尤为重要的是，汉英读本《中国新诗300首》，依凭国际诗歌翻译研究中心（IPTRC）创立十八年来所架构的广泛而高效的国际交流系统，将中国新诗纳入世界人文秩序的总体进程，为整个中华民族近百年的思想历程提供一幅真实、生动而深邃的语言和心灵图景”。

我们知道，中国新诗自1917年诞生以来，其发生、发展，都与外国诗歌艺术有着相当紧密的关系。那么，在当下这个全球化的信息时代，中国新诗势必与国际诗界展开更广泛更直接的交流与互动，而最有效的方法，则无疑是推出大型的汉英对照诗歌选本。这显然也是我们编译汉英读本《中国新诗300首》（1917—2012）的初衷与缘由。

在我看来，诗歌写作其实就是心灵的写作。换言之，我们是否可以把汉英读本《中国新诗300首》（1917—2012），看作是近百年来中华民族精神史抑或心灵史的一个缩影？！纵观汉英读本《中国新诗300首》（1917—2012），我们可以真切地触摸到每一颗心灵的律动与颤动，浩大的诗性力量，犹如滚滚东逝的长江之水，在每一行诗句中跳荡……

如若与其它有关中国新诗的大型选本相比较，我们可以发现，汉英读本《中国新诗300首》（1917—2012）具有如下几个特点：

一、本书所收诗作，首先考量的是其艺术性和语言文本形式建设，既注重入选诗作的文学史意义，更注重入选诗作本身的现代意识和艺术价值（或曰诗美学价值）；

二、除了中国大陆、台湾、香港、澳门的诗人外，海外地区的汉语诗人也在收录之列。本书堪称是对1917年以来的中国新诗的一次全面梳理和检阅，是对自由、独立的人文精神与诗歌精神的一种彰显和传扬，是涵括时间跨度最长的新诗选本，也是涵盖地域最广的新诗选本；

三、入选诗人的编排一律按其出生时间先后为序，在每位入选诗人的作品之后，均附有作者生平及创作简介。

四、在全球经济、信息一体化的语境下，本书以汉英对照形式，力图全面、客观、真实、公正、科学地呈现中国新诗百年来所走过的风雨征程和辉煌的艺术成就；

五、本书的诗歌英译，大致可以分为：诗人翻译和学术翻译两大类，其中诗人翻译占据较大的份额。

我们知道，语言之间的共同点远远超过不同点，所以语际翻译是可能的。语言之间存在的可译性成为翻译的理论基础。但是，这并不排除语言之间存在的差异。一般而言，在所有文学类别的翻译中，诗歌的翻译是最难驾驭的。如果译者本身也是一位诗人，那么，他翻译的诗歌作品，通常会优于非诗人的翻译。

真正的翻译，必须是让一首诗（一个生命），在另一种语境里“再生”，一如涅槃的凤凰。我坚信，在中外一流诗歌翻译家、汉学家的倾力合作与精心打造下，我们编译的这部汉英读本《中国新诗300首（1917—2012）》，必将在英语世界重获新生，并散发出迷人而夺目的艺术光芒。

在这里，请允许我将汉英读本《中国新诗300首》（1917—2012）入选诗人的大名敬列如下（按出生时间先后为序）：

鲁迅、沈尹默、刘半农、胡适、郭沫若、赖和、徐志摩、王独清、闻一多、李金发、冰心、张我军、阿垅、汪静之、梁宗岱、朱湘、罗念生、戴望舒、孙大雨、冯至、臧克家、李广田、苏金伞、殷夫、艾青、卞之琳、覃子豪、何其芳、辛笛、纪弦、钟鼎文、田间、陈敬容、杭约赫、穆旦、杜运燮、蔡其矫、唐湜、彭燕郊、唐祈、郑敏、周梦蝶、胡品清、陈秀喜、袁可嘉、桓夫、曾卓、梁质华、绿原、羊令野、屠岸、牛汉、石天河、林亨泰、孔孚、夏菁、公刘、余光中、洛夫、犁青、罗门、向明、文晓村、蓉子、杨唤、白桦、商禽、邱平、郑玲、舒兰、陈颖杜、流沙河、张默、痖弦、马博良、邵燕祥、郑愁予、韩瀚、非马、昌耀、李魁贤、戴天、叶维廉、吴岸、白萩、张诗剑、林泠、韩牧、许其正、林焕彰、杨牧、史英、黄翔、杜国清、高戈、哑默、华万里、蓝海文、云鹤、张错、席慕容、傅天琳、周涛、傅天虹、李敏勇、食指、张烨、梁秉钧、罗青、莫渝、北岛、江河、芒克、沈奇、多多、李钢、李小雨、周伦佑、利玉芳、舒婷、海上、杨宗泽、严力、王小龙、于坚、杨泽、梁小斌、杨炼、翟永明、王小妮、毛翰、顾城、柏桦、夏宇、林桦、欧阳江河、子午、张曙光、刘诚、杨克、大解、左岸、王家新、袁昌明、廖亦武、王顺彬、杨然、叶世斌、苇鸣、阎月君、贝岭、吕德安、骆一禾、方文竹、韩东、孟浪、吉狄马加、陈东东、陈克华、陆忆敏、张枣、丁当、刘漫流、雪阳、杨黎、林燿德、虹影、阿尔丁夫·翼人、梁晓明、西川、黄灿然、中岛、李亚伟、赵兴中、楚子、解、陈美明、海子、娜夜、南鸥、默默、朱立坤、臧棣、图雅、野鬼、沈苇、姚辉、小海、冯楚、树才、谢宜兴、古马、马科、伊沙、唯色、张智中、叶舟、漠血、普冬、雷平阳、余怒、马启代、戈麦、侯马、赵思运、西渡、唐诗、徐江、陈先发、蓝蓝、阿毛、杨键、吴投文、周瑟瑟、杨林、安琪、罗广才、周云蓬、金铃子、马非、梦凌、东岳、迪拜、赵卫峰、林忠成、黄礼孩、姚彬、杨邪、朵渔、尹丽川、李小洛、海啸、墓草、江非、阳君、朱剑、沈浩波、丁成、李成恩、吴小虫

历时三年，如今，我们终于完成了汉英读本《中国新诗300首》（1917—2012）的整个编译和出版工作，与中外读者见面了。

在本书的编译过程中，曾得到中外知名诗人、批评家、翻译家和汉学家的通力合作与支持。在此，谨向他们和所有译者一并致以最崇高的敬意和最诚挚的谢意。

诗歌不朽，艺术长存。

是为序。

                                                                                          2013年6月28日于中国重庆

The Chinese New Poetry: The Brilliance of 100 Yeas

                                    — Preface to 300 New Chinese Poems (1917—2012)

                                    By Diablo

Since the year of 1917, the new Chinese poetry has a history of 100 years, during which the Chinese nation has witnessed a series of drastic and important events such as the May Fourth Movement, Confused Fighting between the Warlords, Anti-Japanese War, KMT-CPC Civil War, “Anti-Rightist Movement”, “Movement of Cleaning Politics, Economics, Organization, and Ideology”, the Cultural Revolution, April Fifth Movement, Black 1989, and Reform and Opening up to the Outside World. So much so that it can be said that the 100 years, whether from the angles of history and culture or politics and art, are unexceptionally filled with briers, distress, chaos caused by war, struggles, famine, slaughter, hue and cry, as well as tribulations.

In such a dark and bloody historical context, the new Chinese poetry has undergone stages from its creation to its experiment to its construction: the process shows its utmost fortitude in being undaunted by repeated setbacks. In the past 100 years, there have emerged a host of excellent or great poets who have produced many important and immortal pieces, which have been given attention to the international poetry circle. Unquestionably, it is time to exhibit the whole process and the artistic features of the new Chinese poetry by translating and introducing classic new Chinese poems to overseas countries. Based on this point, through discussions with renowned poetry critics, translators and scholars from 8 universities respectively located in Tianjin, Beijing, Chongqing, Shaanxi, Zhejiang, Hunan, Anhui, and Fujian, etc., we have reached a broad consensus at the end of 2010, namely, to compile a Chinese-English textbook of selected new Chinese poetry, which is tantamount both to the brilliant achievement of 100 years of the new Chinese poetry and to the great tradition of Chinese poetry. Our target is: “with a copy of Chinese-English 300 New Chinese Poems (1917—2012) in your hand, you can get an overview of the history of 100 years of the new Chinese poetry and the representative pieces. Meanwhile, Chinese-English textbook of 300 New Chinese Poems (1917—2012) provides a new view point and breakthrough point for those who are engaged in the research of new Chinese literature, while providing text reference for the future development and construction of Chinese poetry. What is of particular importance is that the Chinese-English textbook of 300 New Chinese Poems (1917—2012), by dint of the extensive and effective international communication system established by IPTRC (The International Poetry Translation and Research Centre) through 18 years, the new Chinese poetry is brought into the whole process of world humanistic order, while providing a true, vivid, and profound landscape of language and mind for the 100 years of course of thought of the Chinese nation.”

We all know that since its birth in 1917, the new Chinese poetry is closely connected with the poetic art of foreign countries during its development. In the information age of globalization, the new Chinese poetry is to be more communicative and interactive with the international poetry circles in a more direct and extensive manner, and one of the most effective ways is to compile large-scale Chinese-English bilingual poetry readers. Which bespeaks our original intention to compile this Chinese-English textbook of 300 New Chinese Poems (1917—2012).

In my opinion, poetry writing is writing of the mind. In other words, we shall regard the Chinese-English textbook of 300 New Chinese Poems (1917—2012) as the miniature of 100 years of the spirit or the mind of the Chinese nation. Leafing through the Chinese-English textbook of 300 New Chinese Poems (1917—2012), we can feel the beat and rhythm of each heart: the powerful poetic force, like surging waves in the Yangtze River charging eastward, is exhibited in each poetic line …

Compared with other selections of the new Chinese poetry, this Chinese-English textbook of 300 New Chinese Poems (1917—2012) is found to have the following features:

(1) In selecting poems, consideration is first given to their artistry and the construction of linguistic text form. While paying attention to the chosen works’ significance in literary history, the modern sense and artistic value (or aesthetic value) of the poems are highlighted.

(2) In addition to poets from Mainland China, Taiwan, Hong Kong and Macao, overseas Chinese poets are also included. The book is a thorough examination of the new Chinese poetry since 1917, which exhibits the free and independent human spirit. The book is a selection of the new Chinese poetry with the longest time span and the most extensive areas.

(3) The included poets are in the order of their dates of birth and, after their poems, included is an introduction to the author.

(4) In the context of global economy and information integration, the book endeavors, in bilingual form of Chinese and English, to exhibit the development and artistic achievement of the new Chinese poetry in the past 100 years objectively, thoroughly, and comprehensively.

(5) The English translation of this book composes of two types: poetic translation and academic translation, in which poetic translation is dominant.

It is known that there are more common points than different points between two languages; therefore, interlingual translation is possible. The translatability between languages becomes the theoretical basis for translation. However, this does not exclude the differences between languages. Generally speaking, the translation of poetry, among all literary translations, is the most challenging. And if the translator happens to be a poet himself, his translation is usually superior to that done by a non-poet.

Translation, in a real sense, is for a poem or a life to be reborn in another context of words, like Phoenix Nirvana. It is my belief that this Chinese-English textbook of 300 New Chinese Poems (1917—2012), under the collaboration of Chinese and overseas poetry translators and sinologists, is to regain life in the world of English, sparkling with charming artistic rays.

Here, I would like to list the names included in the Chinese-English textbook of 300 New Chinese Poems (1917—201)（The included poets are in the order of their dates of birth）:

Lu Xun, Shen Yinmo, Liu Bannong, Hu Shi, Guo Moruo, Lai He, Xu Zhimo, Wang Duqing, Wen Yiduo, Li Jinfa, Bing Xin, Zhang Wojun, A Long, Wang Jingzhi, Liang Zongdai, Zhu Xiang, Luo Niansheng, Dai Wangshu, Sun Dayu, Feng Zhi, Zang Kejia, Li Guangtian, Su Jinsan, Yin Fu, Ai Qing, Bian Zhilin, Qin Zihao, He Qifang, Xin Di, Ji Xian, Zhong Dingwen, Tian Jian, Chen Jingrong, Hang Yuehe, Mu Dan, Du Yunxie, Cai Qijiao, Tang Shi, Peng Yanjiao, Tang Qi, Zheng Min, Zhou Mengdie, Hu Pinqing, Chen Xiuxi, Yuan Kejia, Huan Fu, Zeng Zhuo, Liang Zhihua, Lü Yuan, Yang Lingye, Tu An, Niu Han, Shi Tianhe, Lin Hengtai, Kong Fu, Xia Jing, Gong Liu, Yu Guangzhong, Luo Fu, Li Qing, Luo Men, Xiang Ming, Wen Xiaocun, Rong Zi, Yang Huan, Bai Hua, Shang Qin, Chiu Pin, Zheng Ling, Shu Lan, Chan Sirisuwat, Loiushahe, Zhang Mo, Ya Xian, Ma Boliang, Shao Yanxiang, Zheng Chouyu, Han Han, William Marr, Chang Yao, Lee Kuei-shien, Dai Tian, Wai-lim Yip, Wu An, Bai Qiu, Zhang Shijian, Lin Ling, Han Mu, Hsu Chicheng, Lin Huanzhang, Yang Mu, Shi Ying, Huang Xiang, Du Guoqing, Gao Ge, Ya Mo, Hua Wanli, Lan Haiwen, Yun He, Zhang Cuo, Xi Murong, Fu Tianlin, Zhou Tao, Fu Tianhong, Li Minyong, Shi Zhi, Zhang Ye, Leung Ping-kwan, Luo Qing, Mo Yu, Bei Dao, Jiang He, Mang Ke, Shen Qi, Duo Duo, Li Gang, Li Xiaoyu, Zhou Lunyou, Li Yufang, Shu Ting, Hai Shang, Yang Zongze, Yan Li, Wang Xiaolong, Yu Jian, Yang Ze, Liang Xiaobin, Yang Lian, Zhai Yongming, Wang Xiaoni, Mao Han, Gu Cheng, Bai Hua, Xia Yu, Lin Hua, Ouyang Jianghe, Zi Wu, Zhang Shuguang, Liu Cheng, Yang Ke, Da Xie, Zuo An, Wang Jiaxin, Yuan Changming, Liao Yiwu, Wang Shunbin, Yang Ran, Ye Shibin, Wei Ming, Yan Yuejun, Bei Ling, Lv De’an, Luo Yihe, Fang Wenzhu, Han Dong, Meng Lang, Jidi Majia, Chen Dongdong, Chen Kehua, Lu Yimin, Zhang Zao, Ding Dang, Liu Manliu, Xue Yang, Yang Li, Lin Yaode, Hong Ying, Aerdingfu Yiren, Liang Xiaoming, Xi Chuan, Huang Canran, Zhong Dao, Li Yawei, Zhao Xingzhong, Chu Zi, Jie, Chen Meiming, Hai Zi, Na Ye, Nan Ou, Mo Mo, Zhu Likun, Zang Di, Tu Ya, Diablo, Shen Wei, Yao Hui, Xiao Hai, Feng Chu, Shu Cai, Xie Yixing, Gu Ma, Ma Ke, Yi Sha, Wei Se, Zhang Zhizhong, Ye Zhou, Mo Xue, Pu Dong, Lei Pingyang, Yu Nu, Ma Qidai, Ge Mai, Hou Ma, Zhao Siyun, Xi Du, Tang Shi, Xu Jiang, Chen Xianfa, Lan Lan, A Mao, Yang Jian, Wu Touwen, Zhou Sese, Yang Lin, An Qi, Luo Guangcai, Zhou Yunpeng, Jin Lingzi, Ma Fei, Meng Ling, Dong Yue, Di Bai, Zhao Weifeng, Lin Zhongcheng, Huang Lihai, Yao Bin, Yang Xie, Duo Yu, Yin Lichuan, Li Xiaoluo, Hai Xiao, Mu Cao, Jiang Fei, Yang Jun, Zhu Jian, Shen Haobo, Ding Cheng, Li Cheng’en, Wu Xiaochong

After three years of efforts, now the Chinese-English textbook of 300 New Chinese Poems (1917—2012) is to be published for the readers, both Chinese and overseas, to appreciate and criticize.

In the process of compiling this book, I have been encouraged and supported by Chinese and overseas poets, critics, translators, and sinologists, hence my homage and indebtedness to all of them!

Poetry is immortal, and art is eternal.

The foregoing is my preface.

                                                                                        June 28, 2013  Chongqing, China

特别说明：汉英读本《中国新诗300首》耗时三年，终于编竣，所有的英译工作也已全部完成，并将于今年8月底或9月初在加拿大出版。

现将所有入选诗人的名单予以公示（最终以出版社出版为准）。如有不同意编入者，请于一周内致信（或发纸条）：iptrc@126.com，以便及时将大作撤下，逾期则视为同意入选和授权出版。谢谢大家！